Between 1999 and 2002, Paris stood at a threshold. The city, still marked by the remnants of the twentieth century, was gently sliding toward a new millennium. It was within this fragile and luminous in‑between that the photographer Cedr’ (pronounced cedar) walked through the streets, the quays, the gardens and the cafés, camera over his shoulder, with the patience of Eugène Atget and the intuition of those who know that the present will one day become an archive.